Press Summary

Defying an easy description, synnack is perhaps best described as "experimental electronic music"; fusing elements of ambient, noise, industrial, and IDM musical styles with new media performance mediums.

Live, synnack uses a combination of custom computer environments and live instruments to remix and manipulate audio at fundamental levels. Though mostly computer generated, synnack is said to sound strangely organic and no two synnack performances are the same. Visit synnack.com for more information and free synnack release downloads.

More Info

synnack fuses elements of ambient, noise, industrial, and IDM* musical styles with new media** performance mediums.

In a review of the v2 release, Side-Line magazine writes:

Defining the sound of Synnack as experimental would be just a bit too easy. The experimental side of Synnack is for sure one of their main parts, but they're definitely digging deeper in the electronic sound universe. Adding industrial elements and other drum-n-bass elements they also enter ambient fields. The result is quite complex, but exciting. (full review)

synnack is Clint M. Sand (of 0xf8 Studios, and formerly of cut.rate.box and Mono Chrome) and features additional contributions by other artists such as Jeff Ito, Tony Young of Autoclav1.1, and Dave Jones of AttackSustain.

History

Originally, synnack (then syn-nack.org) was launched in 2001 as a web site for online music collaboration community with the goal of applying open source software development processes to music creation; a place for people to exchange music that they compose; download and remix each other's music, and 'release' them at no charge. A dynamic exchange of creativity and expression. Anyone would be allowed to post their music, with the only requirement, that they also post the source material used in its creation. (samples, sequences, etc...).

Since those early expeirments, synnack as a "band" began to take shape and founding members have since taken their musical ideas out of the context of this initial project and formalized them into a cohesive project.

Live

synnack generally performs 2 types of shows, depending on the setting.

• Ambient/Noise/Experimental-a combination custom computer environments and live instruments to manipulate audio at fundamental levels.
• IDM/Industrial-custom computer environments are used to remix the material with beats and rhythms to create a danceable experience.

Live performances also often include additial collaborations with other musicians such as Andy Grant of The Vomit Arsonist, Torrent Vaccine (check out synnack-vaccine) and DJ 523 so that no 2 performances are the same.

Video

In 2007, synnack founder Clint Sand teamed up with Jennifer McClain to create the video division of 0xf8 Studios. Their initial collaboration led to the current synnack live video backdrop, where McClain uses custom VJ software written in MaxMSP/Jitter to remix and manipulate custom, narrative footage in real-time along with the synnack show; creating more of an 'environmental happening' which covers the audience in sensory love splunk. (Live Review*** - Infest 2007)

Examples can be seen on the video page and the synnack YouTube channel. Pre-orders are now available for a full-length DVD, "init.system", showcasing this work from Forced Distro.

Release Methodology

synnack uses a very distinct nomenclature to organize and represent their releases. Releases are titled numerically starting with v1. Phonetically this would be "version 1". Each new incremental release is numbered according to the style and intent.

• Releases named as full, whole-numbers (such as 'v2') usually represent full 1 hour+ releases aimed for CD distribution and/or digital online sales.
• Releases named as fractions of a whole (such as 'v1.5', v2.5') feature the more experimental side of synnack and are usually more ambient/experimental in nature. These releases may sold as CD or downloads and will be made available for free to registered supporters.

A full discography and release download section is available on our audio page.

FAQ

What software/hardware does synnack use?

synnack uses a combination of field recordings, hardware synths, and software effects and samplers. Primary software includes custom patches created in NI Reaktor/Max/MSP and live sequenceing/mixing techniques using Ableton Live. This of course just scratches the surface but represents what we spend the majority of our time with.

With the help of Dave Jones, we've also been using quite a bit of custom hardware as well. Primary hardware includes a Zoom H4, Nord Modular,nd Rack 2x, various custom circuit bent noise boxes, many rack spaces of Doepfer modules, Vostok modular, and various guitars and basses.

What does the name synnack mean?

Originally the name was inspired by computer networking terms for initiating connections (syn) and acknowledgment (ack) and chosen as a metaphor of the goals of the syn-nack.org collaborative project. It just stuck.

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*IDM, short for intelligent dance music or intellectual dance music, is an electronic music genre which began as a style of techno in the early 1990s and moved on to include the textures and sound manipulation methods of Musique concrete and early,"true" industrial bands such as Coil (band) and Nurse With Wound, albeit with software replacing tape loops and vacuum tubes. As compared to the driving, pounding sound of techno aimed at the dancefloor, IDM aims for the head, usually being quite a bit slower, more melodic, less aggressive, and more artistic, quirky and improvisational.

**new media | All emerging communications media that combine text, graphics, sound, and video, using computer technology. Cable and satellite TV, fax, e-mail, and the Internet --- the consequences of the technological advances of the past few decades. All electronic communications that have appeared or will appear since the original text-and-static picture forms of online communication..

***In review of the Infest 2007 performance: ... Created by former cut.rate.box main man Clint Sand, Synnack lived up to the promising and accurate description in the programme ("A live experimental electronic band... blending IDM, ambient, industrial and noise") whose noise was liberal but not oppressive just for the sake of it. Punishing but not fatal. Sand was joined on stage by Autoclav1.1's Tony Young and between them they produced a one-time-only VJ display of audiovisual material completely remixed live on stage using Ableton Live. The resultant dance-like techno rhythms and beats suffused with an alternative outlook developed into a well-constructed dark soundtrack. At its best this had an epic quality that would work wonders in a huge open-air location where the visuals could be given prominence over the performance - with Synnack simply providing the score. If they can come up with (or find) a suitable narrative film idea this could be realised without any major reworking and could be seriously rewarding. Penultimate track Underneath Outside residing mainly in the dark ambient soundtrack territory was an unforced high point..

The FLAC version of synnack's new release is now available. v2.5 is the latest full-length release from synnack exploring dark ambient/experimental/drone style that features a unique approach combining analog modular synthesis, custom software plugins written in Max for Live and improvisational techniques. The FLAC (wtf is this?) version includes CD quality audio, an extra track (BiModal), a regcode to join the supporters, and an expanded PDF featuring 14 pages of exclusive artwork (one page per track). $4.99 [ BUY IT NOW ]

Pre-orders are now being taken for the new synnack DVD video release, init.system synnack init.system is a video anthonlogy exploring themes of creation, revelation, demise and catharsis. Set to tracks from synnack's "v2" release, init.system is split into 3 acts; each focused on a different phase of an unknown protagonist's journey. Adolescent trauma, abnormal curiosity with familiar objects, and psuedo-spiritual revelation are highlighted in Act I "init.being". Act I features videos for "Ants in the Water", "L3D", and "Nauvoo" and introduces the 3 main characters and the rising tensions between them. In Act II, "init.descent", these tensions escalate to a violent and destructive outcome in videos for "Her Room" and "Underneath Outside". The anthology concludes in Act III "init.restart" which is set to "Rize (5mg)" and provides a hallucinatory abstraction meant to represent a moment of twilight just after the protagonist's ultimate end. Pre-order DVD: http://www.forceofnature.cc/shop/?pd_id=65

The free MP3 version of synnack's new release is now available. v2.5 is the latest full-length release from synnack exploring dark ambient/experimental/drone style that features a unique approach combining analog modular synthesis, custom software plugins written in Max for Live and improvisational techniques. v2.5 is available as 320k MP3 for free from Force of Nature and also soon as pay-for-download in FLAC format that includes an extra track (BiModal), a regcode to join the supporters, and an expanded PDF featuring 14 pages of exclusive artwork (one page per track). Both versions include a remix by dark ambient legends, The [Law-Rah] Collective. [ DOWNLOAD FOR FREE ]

An interview with Clint from synnack and Brad from Torrent Vaccine is now up on the Regen Magazine web site. The interview covers the live mashup performances we do as "synnack versus torrent vaccine". Read it now

Because I will do just about anything to avoid what I should be doing, I started making an Iphone web app for synnack.com. Point your iPhone browser to http://www.synnack.com/mobile and "Save to home screen" to "install" the app.

The new synnack release, v2.5, is finally out and available in 2 formats from our label, Force of Nature. A free MP3 version, and a FLAC version that features an additional track, custom artwork, and of course FLAC quality audio for $4.99. This new release represents some significant differences from v2, and anything I've done before really, so I thought I'd document the gory details for anyone interested in the who/what/when/why behind the new work. In a thematic sense, v2.5 was inspired by a number of things. Originally from the TV show "Lost", I became interested in "Number Stations"; mysteriously repeating short wave radio broadcasts. I also stumbled across a compilation documenting actual occurrences of Number Stations captured by amateur enthusiast. Though I did not use any of those recordings in the actual songs, many of the more enigmatic track titles on v2.5 give a nod to these recordings. Consistent with the past few releases, the artwork for v2.5 contains original works by me that use abused and correlated images from my family. The v2.5 art contains zoomed abstractions of a pen and ink drawing by my father of an old plantation home in my native New Orleans. WIthout a doubt the most influential events though were of a technical nature. 1) I met and started working with Dave Jones of Attack Sustain. I met Dave originally because he was a fan of synnack and came to several shows in Boston. I recall finding several posts where he referenced synnack on a blog and I contacted him and introduced myself. I think he may have emailed me to report something whack with synnack.com too. I forget which was first. Lucky for me, Dave has an amazing studio of analog/modular synths in his studio, subHarmonic. Lucky for me, he was completely open to the idea of working with me as a member of synnack. I have used and abused synthesizers for many years before I met Dave, but never analog modulars. For modular synthesis, I had really only used Reaktor. Dave is a master with his gear and has taught me a lot about this way of working. Writing with modular hardware was pretty new to me and coincided eerily with the next few events. 2) I became friends with Bauke Van Der Wal of The [Law-Rah] Collective. I believe I met Bauke through my increasing work with Force of Nature. I mastered a label compilation that included an exclusive track he did as a follow-up to a former release on the label. Since then I have grown to consider him a friend and have enjoyed many conversations where we debate music formats, process, and outcomes with experimental music. I think most people familiar with The [Law-Rah] Collective would see a strong influence in v2.5, but I bet they wouldn't guess that the music is not what inspired me, but conceptual curiosity fueled by our conversations. 3) Max for Live came to be. Max for live is a music software geek's wet dream. It allows you to use Cycling 74's Max/MSP graphical programing environment directly inside of Ableton Live. The ability to not only write your own plugins easily, but manipulate the very character of your sequencer through direct API access is pretty amazing. 4) I became fascinated with "live recordings" and increasingly bored with "drawing music". It's hard to remember at this point which one of these events came first. I think my interest in releasing live recordings started years ago and came up again with Bauke. Specifically, I had read articles by well-known producers from the past who talked in detail about how to "capture" the best recordings. This idea had become really foreign to me. For the past 10 years that I have been exclusively doing electronic music… writing had become something very far removed from recordings. For most electronic musicians, a song starts with clicking on File/New and ends with File/Export. In-between there's a whole lot of clicking going on. Sure you may "record" a take of yourself playing a controller into a midi clip in the sequencer. But how often would I never change anything about the sound, or move the midi notes around to "fix" them after that? The idea of recording a synth performance straight to audio with no chance to "fix" it became pretty compelling to me. So much so, that it inspired a whole new series of free releases in the works. See: Spontaneous Sound Design Recording. Using analog modular synths lends itself perfectly to this approach. There is no saving on a modular. I have always done experimental styled work (see v1.5), but never in this way inspired by these events. As a result, here's how v2.5 was done: 1) During very early Ableton Live 8.0 beta, I began writing things by recording myself playing around in Live directly to disk. Because I was using the beta version where there's no guarantee anything you save will ever open again, nothing was saved for later editing; forcing myself towards spontaneous "recording" but using only software. Roughly 20% of what you hear overall on v2.5 came from this technique. My first Max for Live device, LineFO, was used on some of this. You can download it on maxforlive.com 2) Dave and I spend 4 days recording custom circuit bent instruments and analog modulars in subHarmonic Studios. 75% or so of the sounds you hear on v2.5 came from these recording sessions. Most of patches in these sessions were done by Dave and recorded by me. I would have a feed of his mixer into Ableton and selectively record clips into Session View as he went along patching things. He didn't' really know what i was recording versus ignoring. And I had little idea what he'd do next. Some of these recordings (I believe it was the second day) were done by Dave and I both creating a big patch while noting specific modulations we could do over time, then recording takes of us tweaking them. At some point I picked up a bass guitar and zoned out playing it for a while, which ended up making it on the release as the only non-synth instrument used. 3) I then spent MONTHS (i.e. way too long) organizing these hundreds of clips into one massive Ableton Live set. Most of the work was just listening to the clips and naming them based on what characteristics they posses. Where they harsh? Bright? Dark? Rhythmic? I also color-coded them in this way too. This was a tedious but required step for what happened next. 4) To create the final tracks, we then worked in my studio, 0xf8 on method to perform with all these clips directly into finished tracks. I wrote a new Max for Live device that would change the color of a clip upon being played. So I could ensure during the performance that no single clip would get fired twice. Then I did a series of live recordings using an Akai APC 40 where the clips where fired and live dub-inspired mixing/effecting techniques were used. The results of this live performance (there was a few sessions of this) in 0xf8 Studios resulted in the finished tracks. 5) I really did very little in the way of mixing. I wanted to keep the "what happened, happened" spontaneous vibe and be true to the overall idea of live recording. No presets were used of any sort on this release. In fact no MIDI sequencing was used either. The rhythms you might hear were either from LFO's or Control Voltage modular sequencers. I never File/Saved any of the original material done with software. The release is truly what happened at the time these sessions took place. (this will make performing this stuff live really fun let me tell you). The majority of what remained was mastering, which is way more difficult with this kind of music than more traditional styles. There is little to no line between mixing and sound design decisions, and song writing decisions. Is that noise supposed to sound distorted? Does that drone sound better over-compressed? or should i "fix" it? etc.. Took forever to be happy but I think the end result was worth it. Here are some specific details, per track. At least this is what I can remember at this point. Just about all of these could have "and about 100 Doepfer A-100 Series modules…"

StartFragment:000001 - The name comes from header information found in a particular instant messaging client. The bulk of the drone you hear came from recorded modular stuff fed through one of the Michael Norris plugins (dronemaker?)

E9.Magnetic.Fields - Definitely some Metasonix tubes on here. No memory of the rest.

M7.** (tone sequence) - Most of the low drone is a TipTop z3000 through a (slow) lfo'd waveshaper. Pretty sure the Vostok was used for some of this too.

VOLMET - I think this entire track was done with live recording technics using the default Ableton instruments. (Operator, Analog, and Collision I think). I also took some of the VOLMET remix that Martijn from The [Law-Rah] Collective had sent and mashed that up and put it in here. This song ended up being some sort of bizarre incest with the remix version. It's probably best that I don't think about it.

E14.4F.control - Not much memory of this one. Oh, the droney bit at 1m is the tube stuff again, but I did something to it in Ableton to make it less nasty sounding. The end OSC bit that fades in quickly was the Vostok again heavily pulse modulated. Also think the Suit & Tie Guy Waveshaper was used towards the end.

Short Waves Lost - This track is a combination of live modular recordings, and experiments Dave did with Csound. The title is a nod to the Lost series influence. I also think the final track ended up sounding exactly like something that should have been used in the Lost soundtrack. The remaining 5% or so of the sounds you hear on the release were made messing with Csound or something similar.

initial S (memory) - The only song to feature a stringed instrument. This is the bass guitar stuff I zoned out playing and accidentally recorded. No real memory of what Dave was doing to create all the synthy bits behind it.

Air is Mass - This was done pretty much entirely by recording myself playing with Ableton Live's "Grain Delay" effect. No memory of what was used as the actual sound source. Some of the droney bits are from Dave's modules (shocking)

rapid dashes (R10) ** - Ultimately v2.5 used only about half of the material Dave and I recorded in his studio. For the rest of it, I decided to throw all the remaining Ableton clips into one file, and use the "Follow action" feature to randomly play threw them rapidly as a track on its own. Outside of some live recordings of drones laid over the top (using Ableton's Analog, I think) all the sounds you here are made this way. This was actually harder than it sounds. I had hundreds of clips of huge files trying to trigger randomly at 32nd note speed which was certainly causing problems for my studio machine. Continual recording and bouncing to get this final result. The final track still reminds me of what R2D2 must be thinking.

Bimodal - Dave had recorded a demo on his own of a modular patch he'd created. I quite liked it so I took it and duplicated it, reversed the duplicate and added a few things. This was way late in the overall v2.5 release process so I decided to just add it to the FLAC version as an exclusive song for people who buy that version.

EndFragment:000001 - The name comes from header of instant messaging client again. Most of the audio was created in Ableton by messing with the bands of the Live 8 Vocoder effect and recording the results in real-time into the Voxengo Recorder vst plugin.

Well. if you got this far, clearly you could only be my mother. (Hi Mom!). Having documented this I feel I can finally move on to the next project. Katrina here I come. -Clint, Sept 2010

I spend a ton of time on various music forums. Probably the most on the Ableton Live forums. Many times I enjoy helping people who do not have the experience I have. But even better, I enjoy learning from the many talented people I meet on these forums. Tarekith is a user on the Ableton Forums who posts some awesome tutorials from time to time that we end up pointing people to constantly. Especially when the "how do I master my track?." question comes up. I asked him if I could mirror his tutorials on synnack.com and he agreed. If you're a musician, check these out. Might be old news to many of you but I promise you'll pick up a few tips in here.

• Tarekith's Guide to Digital Audio Levels and Metering
• Leveling, meters, and many other topics along the way....
• Tarekith's Guide To Optimizing WinXP for DAWs
• Tarekith's Guide to Song Arranging
• Dynamics Control for Beginners
• Chasing Inspiration
• Guide to Mastering for Beginners
• Mixdowns for Beginners
• Playing Live
• Creating Transitions & Fills

Also check out his mastering business: Inner Portal Studio and follow him on twitter as @tarekith to note when new tutorials are posted on his site.

So v2.5 is coming soon. And the new DVD. I was thinking about what interviews I might go after to promote these releases. I decided instead to just ask my friends and fans what they want to know and I'll post it to the synnack blog as an interview. Have a look at the two releases in question and fire you questions at me: clint @ forceofnature.cc When you submit questions, be sure to say if you want to them to be posted from you, or "anonymous". Your choice. [ v2.5 ] <=== new audio release [ init.system ] <=== new video release

To prepare for the upcoming release of v2.5, we had a photoshoot taken in Dave's studio by Karla Clute. At this point in my career I am completely sick of pretty much all band photos. How often can you see a guy standing in front of a fence or brick wall, or some "industrial" scrapyard and find this compelling? So for this photoshoot we decided to basically just create sounds using Dave's vast array of modular gear and have Karla shoot action shots. We never intended to actually create a song, or have a finished product. Just to have the photos taken while actually working instead of posing. Ten minutes into it, I looked at Dave and said "you know this sounds pretty cool, we should be recording this?". So he hit record in Ableton which was already recieving a feed from his mixer. We didn't say another word about it and pretty much just continued randomly creating something. There was no plan, even at a high level. No discussion of tempos or pitches or even sounds. We just got lost in spontaneous sound generation. It turned out pretty cool really so I edited down the 30 minute recording into the track available for free download by registered supporters. No additional editing or processing was done. I just deleted the dead spaces where we were changing positions or getting started with a new set of modules. I had so much fun with this approach that I decided to try and keep up these sessions. Once a month we plan to get together with no plan otherwise and record and upload the results. Enjoy Session 1 -Clint

So, I have not been posting nearly as much to this blog as I had hoped. Why? Well. I have been testing Max for live in beta for months and it is now finally released. Part of my involvement has been to build www.maxforlive.com to create and maintain a user community of people using this software to share what they create. It has been a massive time commitment. I have spent at least a solid month of any spare time I have working on this. (and messing with Max for Live of course!) There has been synnack activity. New T-FAKTOR remix coming. Much mastering and design work for Freeze Etch and T-Faktor releases on Force of Nature. And continued work on v2.5 and the new DVD. But for the most part, maxforlive.com has taken all my time. Max for Live is just that amazing. v2.5 still planned for release in 2009. Stay tuned for more on that. In the mean time, check out www.maxforlive.com to see why I am so behind... heh.

synnack will once again perform at b-vision, this time on Friday June 25th, 2010. b/vision is a boston-based collective of local artists, musicians, students, and supporters focused on combining art, music and technology. Their events are sponsored by Ableton and feature live musical performance, visual art, projection mapping, and installation sculpture (often using Max for Live/Jitter). In addition to the synnack music and video performance, the June 25th event will also feature tom&kate, Dice Motion, Ricardo Galvan, Jinku Kim, Brite Lite Brite, Javier Cruz, Evan Sutton, Sid Lees, and Guilty Gunn with live projections by Aaron Kovalscik and art installation by Christina Watka. Get details and rsvp at http://www.b-vision.org/

synnack will be performing at b-vision on Friday April 16th, 2010. b/vision is a boston-based collective of local artists, musicians, students, and supporters focused on combining art, music and technology. Their events are sponsored by Ableton and feature live musical performance, visual art, projection mapping, and installation sculpture (often using Max for Live/Jitter). In addition to the synnack music and video performance, the April 16th event will also feature Luke Johnson, Dice Motion, Seiya Matsumiya, Tony Lim, Jinku Kim, Sid&Jorn, Larva Ink, and Guilty Gunn with live projections by Aaron Kovalscik and art installation by Christina Watka. Get details and rsvp at http://www.b-vision.org/

synnack is confirmed to be performing at a private experimental art showcase in the Boston, MA area on March 11th 2010. Further details on logistics require rsvp to ordance23@gmail.com This set will feature new visuals by Jennifer McClain and a live first-time-ever performance of the new and yet unreleased dark ambient material from v2.5.

"synnack versus Torrent Vaccine" is confirmed to perform at Festival Kinetik in May 15th 2010 in Montreal. Festival Kinetik is brought to you by two of the three original producers of C.O.M.A - KAO Production and I Prod with the addition of Android Productions. Following the success of 2007 edition of C.O.M.A (more than 1400 people during the week end), the team has taken what they started with C.O.M.A and expanded it to the likes of the largest European electro-industrial festivals like Wave Gotik Treffen and Mera Me Luna. Honestly, this is the most professional, well-run dark electronic music festival to ever occur on the North American continent and I am very excited to take the stage there again. This time we are performing in the "Cafe" bar area, which is where all the fun is anyway!! Usine C. 1345, Lalonde Avenue Montreal, QC H2L 5A9 (514) 521-4493 Also performing the same night as us:

• Hocico [MX]
• Dive [BE]
• Tactical Sekt [US/UK]
• Hypnoskull [DE]
• Ambassador 21 [BY]
• Terrorfakt [US]
• Destroid [DE]
• Nachtmahr [AT]
• FabrikC [DE]
• Memmaker [CA]
• Ivardensphere [CA]

I will likely be performing in Destroid this night as well! For more information, visit the festival website at: http://festival-kinetik.net.

Found out today that synnack is confirmed to perform at Londons premier underground nightclub, Slimelight on Saturday, January 16th 2010. The Slimelight 7 Torrens street ISLINGTON - LONDON EC1 1NQ The Slimelight is Londons longest running alternative club dealing in industrial, power-noise, cyber-synth, ebm, cyber-goth, darkwave, trad + modern goth, plus crossover and related alternative sounds. The club has never been featured in listings magazines, but has a membership base of around 10,000. It is also probably the most well known club of its type in the world with a wide and varied mixture of nationalities in attendance on any given week. Stay tuned for details.

New dark ambient/experimental work featuring analog modular synthesis, custom software plugins written in Max for Live and improvisational techniques. More info coming soon.

synnack init.system is a video anthology representing creation, revelation, demise and rebirth into the unknown. Set to tracks from synnack's "v2" release, init.system is split into 3 acts, each focused on a different phase of an unknown hero's journey. Act I "init.Being" features videos for "Ants in the Water", "L3D", and "Nauvoo" where themes of adolescent trauma, an abnormal curiosity with familiar objects, and revelation are explored. Act I also introduces the 3 main characters present throughout and the rising tensions between them. In Act II, "init.descent", these tensions escalate to a violent and self-destructive outcome in "Her Room" and "Underneath Outside". The anthology concludes in Act III "init.Restart" which is set to "Rize (5mg)" and provides a hallucinatory abstraction meant to represent a moment of twilight just after catharsis.

The footage used in init.sytsem was shot in HD and edited in 2008-2009 by Jennifer McClain of 0xf8 Studios with final edits in early 2010. The video collaboration between McClain and synnack began in 2007 to create installation-like environments using Cycling 74's Max/MSP/Jitter to be used for the synnack live performances. This early work focuses on abstract narrative, an evolving cinematography that exposes and examines the boundary between eye-candy and film. Init.system leverages these techniques to combine classical mythological themes with chance methodologies in much the same way the synnack performances contain generated custom and narrative footage.

This DVD also includes a "regcode" for use on synnack.com where you can register as a synnack "supporter" to gain access to free music, often unreleased, discounts on merchandise, and more. To register, note your regcode from the Extras menu on the DVD and visit www.synnack.com/register.

v2 builds on synnack's prior releases by leveraging an increasing amount of custom software, field sampling techniques and live electronics to create an epic combination of ambient glitchy soundscapes and crunchy rhythmic mayhem. A special feature of the v2 release is that each CD package includes a card containing a unique "regcode" which can be used to register on synnack.com for access to additional songs unreleased tracks, videos, discounts on additional merchandise, and more.

v1.5 is a 20 minute ambient noise work created using a number of techniques. Some of the source material used was created by rendering graphical images as sound, live instrumentation, programming, and random sequence generation using an application called 'sounder' to send MIDI data to a range of virtual samplers and synths. This release is still available to our registered supporters. Register at www.synnack.com/register.

Free Internet only release only available from Jan 1st 2006 to Jan 1st 2007 on synnack.com. This release is still available to our registered supporters. Register at www.synnack.com/register.

• Still LIfe
• Berlin
• The Spark that Burned Water
• Mirror Like Sea
• Song for Freedom